Mochica (CEl-1200)--most important, near Chicama river (north coast), related to other groups living in south by Nazca valley, Paracas. Outstanding plastic wares—eventually, most are mold-made, many nearly identical with some variety in finish—delicate stirrup spout, some with flat bridges, often in shape of human or animal head, dippers and corn poppers.

Three states emerge on coast-north, centre and south. Most important Chimu--1200-1450 successors to Mochica, city of Chan-chan capital. Pottery single colour--black, grey or red, highly polished, rarely painted. Stirrup spout usually more square with small animal at junction. Double and whistling vessels common. Conquered in 15th c. by Inca--control Andes from Ecuador to Chile—highly centralized. Aryballos shape characteristic—water jar with lugs, carried by roped-made from huge to miniature, plates with bird-head handles. Wares well-made, polished, often red, sometimes polychrome. Decoration is geometric plus images of plants, insects, llamas. Spanish conquer 1533. Continued whistling vessels; covered ancient forms with European glazes.

Questions to think about with contemporary tribal production:1) How do contemporary tribal pottery practices differ from historical ones?2) How can information from contemporary potters contribute to our understanding of historical pottery? How valid are contemporary interpretations of ancient traditions?3) How do both contemporary and historical tribal potters challenge our concept(s) of ceramics and artistic/artisanal production? In what ways are you challenged?

First stoneware Chou Dynasty (or Zhou 1027-256 BC). (Not in Europe until 14th c.) Early vessels imitate bronze and jade originals. Lead glazing known from imports of lead frit (called liu-li) from Roman Empire. Yueh district (south-east) develops dragon kiln during Han. Lead glazing lost during break-up of Roman Empire.

Early Modern period (16th c.): expanding economies, movement of social and ethnic groups, intermixing of cultures, technologies, styles lead to expansion in ceramic production as even artisan class has more disposable income. Imports from France (Rouen wares-red and white slip designs), China, Holland (tin-glaze), Germany (salt-glaze) in 17th c. encourage diversification to keep up with trends in fashion. Wares produced for local and urban consumer—construct sense of national and regional identity (deliberately archaic wares with patriotic sentiments, heraldry) particularly in wake of immigration, industrialization. Trade flourishes with Ireland, Continent, Atlantic colonies. Robert Plot--History of Staffordshire 1686--production details, styles, economics. Good source of info on potteries. Press molding introduced late 17th c.-mass-production of highly-finished goods.

Hispano-Moresque: Cordoba centre of Western world during Ummayad period (CE 756-1031). Around 1200, potters began to use tin-glaze on biscuit-fired pots. Lustres applied on third fire. Real upsurge in 13th c. as potters flee Mongol advance and come to Spain. Moslems reduced to southern Spain--cross-fertilization with Christian potters. Wares made at Malaga (Andalusia) and Valencia under Islamic influence. Later, Mudejar style (1450-1700) under Christian rule--fusion of Islamic and Gothic traditions. Often cobalt and lustre patterns--leaves, vines arranged in registers used on albarellos (drug jars)--Portinari Altar by Hugo van der Goes (1478). Crisp profiles, elaborate presentation, communal dining wares--exported in large quantities to Italy in Majorcan ships--possible origin of term Maiolica. Talavera de la Reina in central Spain popularized white glaze as “appetizing” Royal patronage sent group to Mexico to start tradition.Italy: Wares from Islamic countries imported from early date--began to use tin-glaze themselves around 1200. Extensive trade between Tuscany and Barcelona. Valencia introduces mudejar style. Early maiolica very decorative—often oak leaf shape in raised, runny cobalt glaze on tin-glaze surface, heraldic animals—found on bulbous 2-handled drug jars. Major pottery centres develop at Castle Durante, Deruta, Cafaggiola, Faenza. Painters apply mineral paints to tin-glaze using popular prints, paintings as motifs--style called istoriato (historiated--narrative subjects)--mythological, religious, patriotic, popular images in orange, yellow, blue, manganese, purple/brown. Lustres first made at Deruta--possibly Islamic potters fleeing Christian advance in Spain introduce technology—only made at a few centres. Cipriano Piccolpasso wrote Three Books of the Potter’s Art—major source of textual and visual references to pottery techniques of the day. Major work produced by largest ateliers—required real skill, division of labour to decorate and fire properly (lots of waster)--lead poisoning a real occupational hazard. Istoriato goes out of favour with Baroque—often are monochrome blue or yellow with grotesques--called Faience in France (after Faenza). Religious wars/Reformation saw potters locating north, east spread tin-glaze to Netherlands, Central Europe (Anabaptists/Haban wares), England.

Bernard Palissy (1510-1590): Amateur scientist, theologian (Huguenot), potter, artist--invented ways of casting from life, developed innovative glazes based on tin and lead. Faced religious persecution most of his life but also produced wares for aristocracy--grottos (for Anne of Montmorency, Catherine de Medici), “rustic wares” (often snakes, crayfish, turtles, lizards, seashells, in marshy environment on large oval basins, platters--also pitchers). Naturalistic grottos actually contain complex allegories of his faith.

Flower holders specially designed to accommodate tulips--pyramid shape, interlocking parts with water holders, spout-shaped necks for blooms--pyramids symbolized the “glory of the Prince” (in Emblem tradition--Caesare Ripa)--also called to mind Roman/Egyptian obelisks, Chinese pagodas. Most exuberant examples produced by van Eenhorn family with Adrien Kocks--popular for funerals, weddings, all sorts of celebrations, display. First mentioned in household inventories of wealthy between 1654-1668. Popularized with English court with accession to throne of William and Mary (Glorious Revolution, 1688--Mary huge fan of blue and white porcelain, Delftware.)

England: John Stow’s Survey of London 1603 reports religious refugees from Antwerp making Delftware in London--also made floor tiles, “apothecaries” (drug jars, albarellos, mortar and pestles etc.) Tin-glaze produced in Aldgate (East Anglia) and Southwark (London) by Flemish potters early 17th to late 18th c. --hard to tell Dutch and other foreign examples. Lambeth, Bristol other important centres--exported to Indies, Americas. Many potteries small family businesses; produced figures, decorated plates, puzzle jugs, candle holders etc.--tendency to chip limited use--surviving objects usually for display. Eventually replaced by Staffordshire creamwares late in 18th c.